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I tried to put this in the Doc Severinson thread, as I recognized him. Can anyone else ID some of these players? Thx.
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04-05-2021 06:37 PM
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Tony Scott - clarinet.
Ed Thigpen - drums.
Art Farmer - trumpet.
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ok just realised at 28:10 all the musicians are listed!
On guitar were Mundell Lowe and Barry Galbraith.
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The credits are on screen at the 28:12 mark!
Billy Taylor - piano
Eddie Safaranski - bass
Mundell Lowe - guitar
Ed Thigpen - drums
Tony Scott - clarinet
Carl Severinsen - trumpet
Jimmy Cleveland - trombone
The George Russell composition was played by
Barry Galbraith - guitar
Art Farmer - trumpet
Bill Evans - piano
Gene Quill - saxophone
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I don't know who those guys were, but damn, that sounds good!
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very cool...some great players in there...lowe and galbraith both guitarists guitarists...always great to see tony scott, who later had fame with his music for zen meditation lp...george russell (at the time) was thought to be a forward thinking composer bridging the gap between modern classical and jazz...and nice to see boneman jimmy cleveland
good stuff! despite the rather pedantic hosts..haha
cheers
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That was great, yet simultaneously reminded me of:
Heath Ledger as the Joker: "Why So Seeeerious?"
And
Jazz Club: Wooonderful!
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Art Farmer in a group with Barry Galbraith... holey carp batman, that's a big catch.
Art Farmer is my favorite trumpet player. The way he carves a line into the unexpected while still weaving a beautiful melody, he had no equal in that regard. Sure there were more fiery trumpet players, but Art could grab your ear with one phrase and have you hooked till the end.
The way that Barry Galbraith comp's... damn. Gets me every time. He knew exactly what to play and when to play it. I know we mention Jim Hall and Ed Bickert when we talk modern guitar compin', but just listen to what Galbraith does in any band that he plays in. A real treat!
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absolutely e...and farmer played flugelhorn just as beautifully
that show obviously picked jazz musicians that could read well and/or play whatever was needed
as farmers wiki states-
From the middle of the 1950s, Farmer featured in recordings by leading arrangers of the day, including George Russell, Quincy Jones and Oliver Nelson, being in demand because of his reputation for being able to play anything. The wide range of styles these arrangers represented was extended when Farmer took part in a series of experimental sessions with composer Edgard Varèse in 1957. Varèse used approximate notation and wanted the musicians to improvise within its structure; at least some of the seasoned jazz musicians present regarded this process of creation as similar to their own familiar creations of spontaneously produced head arrangements, but their efforts influenced Varèse's composition, Poème électronique. Farmer's playing around this time is summarized by critic Whitney Balliett, commenting on his performance on Hal McKusick's 1957 album Hal McKusick Quintet: "Farmer has become one of the few genuinely individual modern trumpeters. (Nine out of ten modern trumpeters are true copies of Dizzy Gillespie or Miles Davis.)"
cheers
ps- his group recordings with jim hall are classic
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I always wondered where some of the footage from the documentary Time Remembered came from. This is it.
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Art Farmer also my favorite trumpeter. His ability to find and expound on the source material is amazing. Swedish folk songs?
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Cunamara, that is my favorite Art Farmer album! I play it for anyone who has a Swedish background.
And that's my favorite track. The build and drama! You think it's a slow ballad and then Jim Hall comes in and it gets groovy!
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I freaked out when I first saw that on channel 13 years ago, and taped it with my VCR. They played Concerto For Billy the Kid, from my fave Geo. Russell album "Jazz Workshop". Anyone catch what changes Bill Evans is blowing off on his solo?
It's a shame that Russell disowned all that great early music he wrote in the 50s, and won't allow anyone to perform or record it, because it doesn't use his LCC, and was influenced by white European classical composers. BS...
Friends of mine who went to the New England Conservatory where Russell taught, used to make fun of his obsession with the LCC, and the music that resulted from it. His mind deteriorated from a brain disorder, so maybe that had something to do with it. Wynton refuses to play any of his music at Lincoln Center.
You've got to admire Gene Quill sitting in for Russell's regular alto player Hal McKusick. The other guys were Russell's regulars, in fact, Galbraith studied composition with Russell.
Also great seeing Tony Scott with that highly unusual embouchure of his getting that fluid sound out of the clarinet. He almost got arrested at the UN building one day for marching in there with a petition to have Charlie Parker declared the greatest human being of the 20th Century!
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^ channel 13!!! haha
wnet!
cheers
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Originally Posted by neatomic
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Just Great!
When this should be the future of Jazz we´re all heading glorious times.
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Originally Posted by sgcim
In the discussions that I have read about the LCC, it always seems to me that there is something missing in the logic; I have not read the source material, however, so what I may be running into is others explaining the theory in a non-correct manner. Certainly a lot of musicians that I enjoy and respect utilized ideas from Russell to great effect (Art Farmer, Bill Evans, Miles Davis, John Coltrane, etc.) and made some of the greatest music in jazz. That tells me that there is something to it. Along with that, his ideas contributed to shifting jazz away from bebop and into other forms of expression.
Wynton refuses to play any of his music at Lincoln Center.
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Unfortunately this bit from around the same time had a more accurate take on the future of Jazz
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^ hah, too funny!
Anyone hip to Joshua Breakstone?
Today, 12:30 AM in The Players